A landscape is a landscape is a landscape. But in her view of the ambiguity of reality, Wanda Mihuleac composes an infinite landscape of reflections and lights.
The magnificent obsession of Wanda Mihuleac’s cinema has to do with the impossibility of perfect reflection: the water, the mirror, the twin, none of them appear as an ideal double of the original image, but as an independent reality, similar but not alike: a reconstruction. In Reconstruction in Landscape, a transparent pane of glass—a screen, as we understand it today—juxtaposes a wooded landscape with a vague, glassy reflection behind it. Little by little, a woman’s hand places small mirrors that reveal a cameraman. When the camera finally breaks free from the unstable reality of reflections and pans back to “real” reality, it zooms in on the sun, whose light overfills the image: for “real” reality cannot be. Like many of Mihuleac’s early films, this one was also never screened in communist Romania. (Călin Boto)
Wanda Mihuleac (b. 1946, Bucharest, Romania) is a contemporary painter, visual artist, engraver, and publisher. She studied at the National University of Art in Bucharest from 1964 to 1970, then at the University of Paris-1 Panthéon-Sorbonne from 1993 to 1994. She participated in international biennials and received awards in Romania and France. In 2001, she created TranSignum Editions, whose purpose is to publish limited edition bibliophile books accompanied by engravings, photographs, original works and even CD-ROMs1. Since 1973 she has had 28 solo exhibitions in galleries in Paris, Marseille, Taverny, Clichy, Levallois-Perret, Strasbourg, Bucharest, Timișoara, Athens, Tokyo, New York, Geneva, Rome, Venice, Milan, Aachen, Saint-Étienne, La Marsa-Tunis, Liège.